Roger Manins
Hip Flask
(Jazzgroove Records)
A remarkable characteristic of this album is not just the exceptional musicianship of Roger Manins (his debut as leader and recorded in 2001), but his unusual use of both Hammond organ and piano in the line-up. Renowned Sydney organist/keyboardist Stuart Hunter joins forces with Adam Ponting on piano complementing mostly Manins’ compositions.
Manins states in the liner notes “the focus of the music is the groove and the blues”. While most of the compositions are simple and attractive both melodically and in structure, each artist is anxious to explore outside the melody and the groove albeit in the head-solo-head tradition. Particularly evident on ‘Victoria’ where the elementary blues turns avant-garde thanks to a spirited exchange from both Ponting and Manins.
The immensely talented Brendan Clarke plays an unwavering role on both acoustic and electric basses. ‘Bang’ takes time out from the prevailing bluesy flavour when Manins chooses the bass clarinet for a celestial introduction, developing into a canvas of shifting corridors and bright shafts of light, while Ponting is heard redeploying McCoy Tyner’s thunderous heavy handed bass chords. ‘Impulse’ sees the return of the blues feel but this time with a funky backbeat courtesy of Toby Hall.
Manins has a tough, beefy sound, which is boldly projected without any indefinable notes, a quality which blossomed from experiences in NYC between 1996 & 1999. A sound arguably recollecting Eddie ‘Lockjaw’ Davis’ but with altoist Hank Crawford’s Memphis overtones.
Another surprise is ‘Jacqueline Grace’ – a slower than heartbeat bass drum pulse underpins the transcendental contributions from Manins, Hunter and Ponting. ‘Big Sis’ concludes the program in the broad brushstroke of earthy rhythm and gritty blues, which dominate.
One gets a feeling there’s a parallel between the bold Manins sound and the rationale behind this album. If you’re being heard for the first time, make an impact. An ominous signal for the jazz world.
Note: This review is one of three that made up Peter Wockner’s winning submission to the 2006 National Jazz Writing Competition.
